Konstfacks bibliotek

*00001138nam a22003257a 4500
*00139895
*00520150820030854.9
*008150819s2015    gw            000 1 eng c
*020  $a978-3-95679-093-5
*035  $a(SE-LIBR)18264839
*035  $a(Ko)45024
*084  $aHe$2kssb/8
*1001 $aKatsof, Alhena
*24510$aSolution 263 :$bDouble agent /$cAlhena Katsouf and Dana Yahalomi ; [contributions by Karen Archey and Janto Schwitters, and Jill Magid ; series editor: Ingo Niermann ; book editor: Niamh Dunphy]
*260  $aBerlin :$bSternberg Press,$ccop. 2015
*300  $a128 s.
*4901 $aSolution ;$v263
*4901 $aSolutions.
*500  $a"This manual was created by Public Movement between 2012 and 2015."
*7001 $aYahalomi, Dana$4aut
*7001 $aArchey, Karen$4ctb
*7001 $aSchwitters, Janto$4ctb
*7001 $aMagid, Jill$4ctb
*7001 $aNiermann, Ingo,$d1969-$4edt
*7001 $aDunphy, Niamh$4edt
*7102 $aPublic Movement$4oth
*830 0$aSolution series (Berlin, Germany) ;$v263
*841  $5Ko$ax  a$b1508194u    8   1001uu   0901128$e4
*852  $5Ko$bKo$hH$lKAT
^

The phenomenal performative relationship between the state and its cultural institutions was perhaps best exemplified when the declaration of the State of Israel was staged at the Tel Aviv Museum of Art in 1948. This relationship has been at the heart of Public Movement's research. Solution 263: Double Agent , authored by Alhena Katsof and Dana Yahalomi, presents a methodology, manual, and performance offered as a culmination of efforts by the Office of Strategy and Protocol. It contains the necessary tools to activate Debriefing Sessions and in doing so trains future Agents in a series of one-to-one exchanges gathered from work in the field. At its root, Debriefing Sessions explore the possibility that to activate art in the political field, an agent may be a double agent.

The manual includes contributions by Karen Archey and Janto Schwitters, and Jill Magid.

AGENT
Most of the details about these paintings disappeared and in their place there is a vacuum, a culture of permissibility making strangers of us all.
We began to focus our search on paintings we could find, which had, almost without exception, been carried across borders and cared for by the artists and their families.
These paintings live in the Diaspora as exiled people do. (Returns to the folio and the diagram)